Title: The Entombment of Christ and the Myrrhbearing Women at the Tomb
Artist: Unknown
Medium: Fresco
Date: Third quarter of the 11th century
Materials: Pigment on plaster (true fresco)
Location: Crypt, south wall, Katholikon, Hosios Loukas Monastery
Far beneath the peaceful, nearly eternal, crypt of the Hosios Loukas Monastery (nearly 1,000 years old), the south wall has a nearly unique, seldom-repeated twin scene of the Entombment and the Myrrh-bearing Women right outside the empty tomb. Created in the third quarter of the 11th century, this fresco transcends the illustration of Gospel accounts. That, frankly, is no great thing. The illustrations of Gospel events that one sees in so many other Byzantine frescoes and mosaics are often boring, and the boredom is almost contagious. It is hard to maintain the serene, silent communion with the events depicted when the depicted events nearly always look like they are happening for the umpteenth time, even for the infinitely good and good-for-all actions of the always-excellent Jesus. The value of studying such masterpieces is immense, as even modern microanalytical investigations (Taglieri et al.) on pigments and techniques continue to unveil the sophistication of Byzantine craftsmanship. The seamless unfolding of the narrative, from sorrow to the dawn of hope, makes this fresco a powerful visual sermon.
The Entombment: A Scene of Somber Veneration
The part on the left depicts the Entombment of Christ. We are drawn into a moment of profound sorrow, yet it is portrayed with a remarkable, almost imperial, dignity. Joseph of Arimathea and Nicodemus, figures of venerable age and deep, human grief, gently lay the lifeless body of Christ into the heavy stone sarcophagus. The body, itself wrapped in burial linens, is rendered with a near-sculptural quality; its form is still evident, despite the passage of time on the fresco’s surface. Where discernible, the delicacy of brushwork suggests a masterful understanding, both by the artist and his tradition, of human anatomy and the rich iconographic traditions of Byzantium. Beside Christ, the figure of the Virgin Mary stands, a silent embodiment of a mother’s unspeakable grief. She is captured in the traditional lament: “O God and Word, O my joy, how can I bear Your three-day burial?” Of course, it helps if one knows what to look for. The figure of the Virgin Mary, with better visibility here, is likely to be the only female figure in the fresco. That really ought to be a hint. Her posture, the traditional tilt of the head, and the restrained gestures all contribute to an atmosphere of quiet lamentation.
The Myrrhbearers and the Angel: Dawn of Resurrection
To the right of the composition, the mood shifts abruptly. The scene of the Myrrhbearing Women at the empty tomb rises and shines with the triumphant message of the Resurrection, death’s ultimate conquest. Two women, likely Mary Magdalene and “the other Mary,” approach the tomb bearing spices, but their postures express and impressive sense of awe and apprehension. They recoil slightly, drawing together in scared silhouette as they near the imposing figure of an angel seated upon the stone rolled away from the tomb’s entrance. This messenger from on high, swathed in white and with wings raised to their maximum level—a detail mentioned here as an aside but worth a look because it underscores the victory over death—this celestial being gestures towards the vacant inside of the tomb, indicating the presence of no body but a couple of empty burial cloths. The color and light values of this section do brighten quite a bit compared to what we find in the preceding panel. In fact, it seems here as if the artist has taken the color scheme of the sky in the preceding panel and transposed it to the background of this one. The smooth transition between these two distinct episodes, achieved despite their sequential nature (not a simple task, as one might guess), demonstrates remarkable narrative cohesion.
Narrative Power and Crypt Aesthetics
The fresco of the Entombment and the Myrrhbearers in the Hosios Loukas crypt is an exceptional example of 11th-century Byzantine art. A juxtaposition of two pivotal scenes, it poetically underscores the unbreakable link between Christ’s Passion and His Resurrection, the ultimate sacrifice that gave way to the final victory. The Entombment is portrayed in a left half that could stand almost as a frieze, while on the right a massive angel is seen in the act of declaring the Resurrection to the Myrrhbearers.
Epilogue
The dual portrayal of the Entombment and the Myrrhbearers at Hosios Loukas is more than just a historical artifact or a masterpiece of Byzantine art; it is a living testament to faith. It’s a silent hymn to the universal rhythm of sorrow and joy, death and life. The figures, though rendered on a flat surface, seem to breathe with the spirituality of an entire civilization. Every brushstroke, every subtle hue, every mark left by the passage of centuries upon these sacred forms, invites contemplation on life’s profound mysteries. This art, born in the heart of the Byzantine Empire, continues to move and instruct, a reminder of the enduring power of human creativity when inspired by the highest ideals.
Frequently Asked Questions
What exactly does the Byzantine fresco of the Entombment and Myrrhbearers at Hosios Loukas depict?
This fresco, located in the crypt of Hosios Loukas Monastery, illustrates two sequential, crucial events in Christian belief: first, the laying of Christ’s body in the tomb by Joseph of Arimathea and Nicodemus, with the Virgin Mary present; and second, to the right, the Myrrhbearing women encountering an angel at the empty tomb, who announces the Resurrection.
What is the date and significance of this particular Hosios Loukas fresco?
This Byzantine fresco dates to the third quarter of the 11th century. Its significance lies in its masterful composition of two key scenes, its profound yet restrained expression of sacred drama, and its status as an exceptional example of art from this period. It highlights the artist’s narrative skill in conveying both the Entombment’s sorrow and resurrectional hope.
What elements of 11th-century Byzantine art are visible in this depiction of the Entombment and Myrrhbearers?
The fresco displays characteristic features of 11th-century Byzantine art, including elongated figures, stylized drapery, the conveyance of intense emotion through subtle means, and the symbolic use of color to impart spiritual meaning. A balanced composition and a sense of monumentality are also evident in this Hosios Loukas Byzantine fresco.
Why was the crypt of Hosios Loukas Monastery chosen for such an important Entombment fresco?
As a burial space, a crypt is inherently linked to themes of death and resurrection. Placing the fresco of the Entombment and the Myrrhbearers in this part of the Hosios Loukas Monastery powerfully reinforces its symbolism, offering monks and pilgrims a vivid visual focus for meditating on the foundational events of salvation.
How does the portrayal of the Myrrhbearers in the Hosios Loukas fresco connect to the message of Resurrection?
The scene featuring the Myrrhbearers in the Byzantine fresco at Hosios Loukas is pivotal. It marks the transition from the grief of the Entombment to the hope of Easter. The angel announcing Christ’s rising to the women who came to anoint His body delivers the central message of victory over death, a cornerstone of Christian theology.
Bibliography
- Hörander, W., Paul, A., & Rhoby, A. Byzantinische Epigramme auf Fresken und Mosaiken. Veröffentlichung zur Byzanzforschung, 2009. austriaca.at.
- [αφαιρέθηκε το μη έγκυρο URL], K. M. ‘Peripheral Byzantine Frescoes in Greece: The Problem of their Connections’. British School at Athens Studies, 2001. JSTOR.
- Taglieri, G., Rigaglia, D., Arrizza, L., Daniele, V., et al. ‘Microanalytical investigations on a Byzantine fresco of the Dormitio Virginis from Sicily’. Journal of Cultural Heritage, 2019. Elsevier.
- The Holy Monastery of Hosios Loukas. (n.d.).
